When you hear the word “etiquette,” do you think about finishing school and fine china? Do you remember wracking your brain at an important dinner, wondering which fork comes next and where to place your napkin? If so, you’re not alone. Etiquette gets a bad rap. In 2016, we rarely even speak of etiquette anymore. In contemporary society, having “good manners” is good enough. After all, etiquette books and advice columns are full of uncomfortable, outdated rules with no room for negotiation. Right?
In 1922, a woman from Baltimore dared to state that what was “socially right was what was socially simple and unaffected.” She believed that people should be treated equally, that ordinary citizens want to do good, and that creating a comfortable, open environment where no one is judged was the duty of every person. Do you know who this woman was? If you said Gertrude Stein, you’re close—but only geographically.
Emily Post, born Emily Price, spent the first ten years of her life living on Chase Street in Baltimore (a mere three blocks away from where Stein lived while enrolled at Johns Hopkins University). She was the daughter of Josephine Lee and Bruce Price, a successful architect whose “Shingle Style” influenced legendary innovators such as Frank Lloyd Wright and Robert Venturi. When the Price family moved to New York, their social circle included some of the richest families in America—the Vanderbilts, the Astors, and the Morgans, just to name a few. After marrying into a well-off family, Emily Post was ready to enjoy life as a wealthy Gilded Age wife.
Emily Post’s “Etiquette” 1947 edition.
Instead, the marriage brought her scandal and shame. After being subjected to the public ridicule that followed her husband Edwin’s many affairs, Emily Post needed to reinvent herself. After her name was tarnished in the blaring headlines of newspapers and gossip rags, being a society dame was no longer an option. So she took to writing. For the next fifteen years, Post wrote anything she could in order to support her two sons—novels, newspaper articles, digest features, travelogues, and serial stories. She befriended iconoclasts such as Mark Twain and Edith Wharton. In 1922, she published her first etiquette book: Etiquette in Society, in Business, in Politics, and at Home, a title that she would soon revise to the much simpler Etiquette.
You might be wondering how a scorned and scandalized woman became the American authority on decorum. Instead of pandering to society’s upper crust, Post tailored her advice for the newly rich. In subsequent editions, she moved her focus to the middle class. To her, etiquette represented not money or education or “good breeding,” but civility. In fact, Post’s standards of caring for guests and being considerate of others are right in line with those of Johns Hopkins University professor P. M. Forni, whose 2002 book Choosing Civility: The Twenty-Five Rules of Considerate Conduct was the impetus for Howard County’s Choose Civility initiative, led by the Howard County Library System.
“Etiquette is the science of living,” Post once remarked. “It embraces everything. It is the code of sportsmanship and of honor. It is ethics.”
Interested in learning more about Emily Post? See her childhood home and more on the Literary Mount Vernon Walking Tour. Our next public tour is Saturday, August 20.
Want to meet Ms. Post? Join us on October 15 for our first Literary Mount Vernon GHOST Walking Tour, where a ghastly Emily Post and other bygone literary luminaries will join us on our walk!
by Greg Nedved, Vice President of the National Museum of Language
Language has seldom been a museum focus, a curious oversight because of its importance to mankind. Have you ever considered what it would be like to communicate without language? Language is very much taken for granted. In 1971, the idea of a language museum in the nation’s capital began amongst a group of expert linguists, language specialists, and language enthusiasts who were intrigued by the potential of putting language on public display. After decades of feasibility studies, start-up pains, and slow but steady incremental growth, the National Museum of Language (NML) opened its doors in College Park in May 2008, sustained by an all-volunteer governing board and roster of docents. It was truly a trailblazer in the field—there were no more than three museums in the world with a similar focus, i.e., the history, impact, and art of language. The opening of the Museum was a personal triumph for NML’s longtime president, the late Dr. Amelia Murdoch, who had been among the group in 1971 first advocating such a museum.
The International Flag of Language is the first and only flag dedicated to language. The three shades of green leaves represent living languages, dead languages, and future languages, while the curves flowing away from the tree represent the spread of knowledge gained from languages.
For the next six years, the NML enjoyed a steady growth, with people from all over the world visiting it. During this time, we sponsored three major exhibits, hosted items and artifacts from other museums and institutions, and taught language-related classes. NML also received favorable media coverage from various news outlets such as The Washington Post and the British Broadcasting Corporation (BBC). Even those who recognized that the Museum was “still a work in progress” supported its goals and admired its vision.
In 2014, NML trustees made the strategic decision to close the exhibit space in College Park and focus instead on building online exhibits, known as the Virtual Museum, and promoting the Moveable Museum, an initiative whereby NML artifacts are loaned to local and regional educational venues. NML is also continuing its long-running speaker series (named in honor of Dr. Murdoch) with topics ranging from Klingon to Cherokee. Our summer World Language Camp programs introduce school-aged children to as many as five languages and cultures in one week.
As with any museum, our needs are great. We are always in search of officers, associates, volunteers, fundraisers, as well as individuals who can help bring NML into the twenty-first century. Like all museums, donations of funds, as well as time and knowledge are welcome. The ultimate goal of the trustees is to have a self-sustaining brick-and-mortar facility.
The National Museum of Language aims to be a national museum, in more than just name. We want to have national impact and be a go-to resource for people who are curious about languages and cultures. We want to be a trendsetting museum featuring memorable, unique and well-developed activities and exhibits.
At present, NML is building an interactive site in collaboration with the Dictionary of American Regional English (DARE) researchers. Its first virtual exhibit showcases comic strips based on the world’s earliest joke book, the Philogelos. Please check out the NML website at www.languagemuseum.org to see its activities and online exhibits.
It’s hot outside—really, reallyhot. I’ve lived in Maryland for twenty-four years and still every summer about this time I’m amazed by our collective ability to not melt. I distract myself from the heat by reading—voraciously. I consume almost as many books in the summer as I do ice cream cones.
One of my favorites so far is This One Summer, a graphic novel by Mariko Tamaki and Jillian Tamaki. The beautiful indigo panels inside follow Rose, a girl who is reluctantly growing up, on her yearly family vacation at a lake-side cottage (Deep Creek Lake, anyone?). This book is full of love, friendship, growth, and a bit of tragedy, too. It gave me some pretty serious nostalgia for my girlhood summer vacations. My summer days were always punctuated with a cold sweet treat. To satisfy my nostalgia (and my sweet tooth), I started looking into the best places to get ice cream in Maryland.
Did you know Maryland has its very own ice cream trail? There are NINE stops! Last weekend, I visited my first stop, Broom’s Bloom Dairy in Bel Air. The farm and house date back to the colonial era, the name itself coming from the colonial land grant. Broom’s Bloom is a beautiful piece of Harford County history. During high school, I even took a few field trips there to learn more about farming and agriculture in our county. Broom’s Bloom offers classic ice cream flavors, but has a wide variety. I got cherry vanilla and it was delicious!
For my next stop, my colleague Courtney and I made a quick trip to Prigel Family Creamery. The Prigel family has been farming in Baltimore County for over one hundred years. John Mathias Prigel, the creamery’s founder, first moved to the property as a sharecropper in 1895. The farm has remained family owned and operated ever since. Courtney and I discovered that we have a favorite ice cream flavor in common: mint chocolate chip.
Courtney:
When I first found out about Maryland’s ice cream trail a few years ago, I was excited. Ice cream is one of my favorite desserts and has long been a staple in our state. In 1744, Maryland’s Thomas Bladen was the first governor to serve ice cream at an official state dinner. In 1851, Jacob Fussell opened the first commercial ice cream factory in the United States in Baltimore. Maryland’s rich history with this sweet treat continues today with the creation of the ice cream trail. As a lover of history (and ice cream), I was eager to dive in.
On a recent trip out to Garrett County, I made a pit stop at Misty Meadows Farm Creamery. Located in the town of Smithsburg in Washington County, this family-owned business is surrounded by beautiful rolling hills and adorable cows and goats. Surrounded by this picturesque scene, I decided to extend my break and relax in one of the many rocking chairs on the front porch. Joining me in the chair was one of my favorite things to read—a comic book.
I have been a consumer of comic book culture, by way of television and films, for my entire life. But it has only been recently that I have become a regular fixture at local comic book stores. Like ice cream, comic book readers tend to have a favorite flavor. While most people are familiar with comic mainstays such as Superman and Batman, I prefer indie comics—especially those with storylines that center on young girls. One of my favorite series, Lumberjanes, is perfect for summertime because it tells the story of five girls, their friendship, and the wacky (supernatural?) shenanigans they get into at Miss Quinzella Thiskwin Penniquiqul Thistle Crumpet’s Camp for Hardcore Lady Types. The girls look up to a wide range of awesome female figures such as Bessie Coleman and Joan Jett. Although I never went to sleepaway camp like the Lumberjanes, I do remember the fun that summer brought: pools, plenty of books to read, rollercoasters, fireflies, and ice cream.
Ready to explore the ice cream trail for yourself? Check out the 2016 Maryland’s Best Ice Cream Tour and hit the road. Let us know what you thought, what treat you enjoyed, and—as always—what you’re reading!
Broom’s Bloom Creamery in Harford County
Broom’s Bloom Creamery in Harford County
Courtney Hobson at Misty Meadow Farm Creamery
History of Prigel Family Creamery display
Susie Hinz and Niles visit Broom’s Bloom Dairy
Courtney Hobson and Susie Hinz visit Prigel Family Creamery
by Auni Gelles, Assistant Director, Heart of the Civil War Heritage Area
Chestertown Tea Party Festival in the Stories of the Chesapeake Heritage Area
The Old Line State offers residents and visitors a nearly endless supply of historic places to enjoy. There are many ways to organize your travel: perhaps you prefer following a trail, marking off stops in a passport, or scheduling your trips around festivals and special events. Whether your interests lie in architecture and the built environment, natural history, political events that shaped the nation, milestones in technology and industry, or the stories of everyday citizens or influential leaders, you will certainly find a site worth visiting in one of Maryland’s Heritage Areas.
Maryland’s Heritage Areas Program is governed by the Maryland Heritage Areas Authority and administered by the Maryland Historical Trust within the Maryland Department of Planning. Celebrating its twentieth anniversary in 2016, the program is made up of thirteen locally designated regions certified by the state as management entities for heritage tourism. Each of the Heritage Areas operate differently, but their mandate is the same: they are designed to enhance visitors’ experience of local history, increase economic development, encourage preservation, and foster partnerships among historic sites. Each Heritage Area has a unique focus—centered around an interpretive theme or a geographic boundary—although they all offer a range of experiences for a variety of travelers.
Consider organizing your summer travel plans by Maryland’s Heritage Areas. Below is just a sampling of what each has to offer:
Patapsco Heritage Area: Find unusual landmarks within Patapsco Valley State Park: the ghost town of Daniels, Bloede’s Dam—the world’s first submerged electrical generating plant—and the Thomas Viaduct, the world’s largest multiple arched stone railroad bridge with an arc.
St. Stanislaus Kostka Church Ruins in the Patapsco Valley Heritage Area
In the last few years, podcasts, web series, vlogs and non-network TV have diversified our media choices—not just in format, but in the range of voices making their way to the mainstream audience. Women are, of course, still wildly underrepresented in writers’ rooms, at the host desks of late night shows, and around the tables of entertainment boardrooms. Compared to comedy’s past, we are living in a bright new era. But we still have a long way to go before the media landscape truly reflects the diversity of our society.
That said, if you enjoy the work of funny women, this summer is full of exciting, laugh-out-loud options in literature. If you’re looking for a summer read with substance, check out Tig Notaro’s I’m Just a Person and “The Bloggess” Jenny Lawson’sFuriously Happy: A Funny Book About Horrible Things. Both newly-published memoirs explore intense and personal subject matter through a comedic lens. These books deal with some heavy topics—cancer, grief, and mental illness, just to name a few—but will make readers snort with laughter through their tears. If you’re looking for a witty novel, Arrested Development alum and Where’d You Go Bernadette author Maria Semple just released a sharply observed new tale, Today Will Be Different. Helen Ellis’ American Housewife: Stories is darkly funny short fiction à la George Saunders or David Sedaris.How to Make White People Laugh by Negin Farsad andYou’ll Grow Out of It by Jessi Klein are on my reading list. Farsad is co-creator of the comedy-documentary, The Muslims are Coming! and Klein is Inside Amy Schumer’s Head Writer. Artist and BoJack Horseman Production Designer/Producer Lisa Hanawalt recently followed up her critically acclaimed 2013 graphic novel My Dirty Dumb Eyes with the food-centric Hot Dog Taste Test. Hanawalt’s work is not for the faint of heart, but if you like the combination of sight gags, animal jokes, rude humor and pathos present on BoJack, this one’s for you. And, if you can wait a couple months, check out Luvvie Ajayi’s I’m Judging You: The Do-Better Manual, out in September. In the meantime, peruse Awesomely Luvvie, the blog that made/makes Ajayi’s work go viral and earned her White House speaking engagements and the dream gig of interviewing Oprah.
Off the page, The Late Show with Stephen Colbert just hired writer Heben Nigatu, who will continue to co-host my favorite podcast, Buzzfeed’s Another Roundwith Tracy Clayton. Both Nigatu and Clayton have an abundance of charisma and comedic skill, and Another Round features great guests, from National Book Award winner, Ta-Nehesi Coates to delightfully awkward stand-up comedian, Aparna Nancherla. Nancherla’s first full length comedy recording, Just Putting It Out There, came out last week (fun fact: it’s the inaugural album from Tig Notaro’s Bentzen Ball Records). The USA Network series Playing House, starring Lennon Parham and Jessica St. Clair, features a profound and profoundly silly central relationship between hilarious lady besties, and debuts its third season soon. As for web series, comedian Jenny Slate’s baffling and genius new Catherine (now streaming on Amazon Prime) exemplifies the special combination of heart plus risk I most enjoy. Catherine very intentionally situates itself right between profoundly boring and extremely funny, presenting two minute “episodes” that look like a French New Wave film and sound like a kid’s idea of how adults talk at work. And, if you’re thinking ahead, don’t forget to mark your calendars for the fall premiere of web series pro Issa Rae’s new HBO show, Insecure.
A wise woman once said, “I guess some people object to powerful depictions of awesome ladies” (Amy Poehler’s Leslie Knope from Parks and Recreation, of course). We have enough pain, fear, and prejudice in our world. Take a cue from these funny women and celebrate how we’re different and how we connect—and laugh while doing it.
Miriam DesHarnais is a Research and Instruction Librarian and Liaison to the College of Education at Towson University’s Albert S. Cook Library. She reviews books for kids and teens for School Library Journal.
Our Chautauqua event is underway and in preparation for the free performances, we spoke with the scholar-performers headlining the events. The performances run from July 5th to July 16th. This week’s interview is with Brian Gordon Sinclair, performing scholar of Ernest Hemingway.
Q. What drew you to Hemingway as a character?
Sinclair: Hemingway’s public persona as a hard-drinking womanizer, although partially true, was mostly a creation of the media. If you read both his stories and the biographies, especially Michael Reynolds’ superb five volume series, you will discover much compassion in Hemingway. He risked his life to save his youngest son from sharks; he donated money to the veterans of the Lincoln Brigade; he worked to free Ezra Pound from a mental hospital; and he used his modest but effective medical knowledge to save the life of his last wife, Mary, when she almost died from a tubal pregnancy. A simple but particularly touching example occurred when Ernest wrote a letter of consolation to his friends, Gerald and Sara Murphy when their son Baoth died. Hemingway spoke of how words were so inadequate at such times and concluded with a statement of kindness and awareness which I have paraphrased:
“All we can do is to live it now, a day at a time…and be very careful not to hurt each other.”
I read that line at a time in my life when I was struggling and striving towards an understanding of the compassionate nature. Hemingway helped me to understand.
Q. What is your favorite work by Hemingway?
Sinclair: An impossible choice; however, after spinning the mental dial, I have selected For Whom the Bell Tolls. This story of the Spanish Civil War is one of the great dramas of the twentieth century. It was a favorite of Fidel Castro who said that it taught him all the tactics he needed to know to fight a guerilla war. A supporter of the Republican government, Hemingway knew that his story of a fight for freedom combined with a passionate romance that literally made the earth shake would lay bare the atrocities of both sides of the conflict. For Whom the Bell Tolls is high drama indeed…and a great read.
Q. Hemingway’s writing style has been described as simple yet perceptive, which differed from his contemporaries. What do you think influenced his style of writing?
Sinclair: There is no doubt that Hemingway’s time in Paris during the years of “the Lost Generation” – Gertrude Stein’s “salon” gatherings which included the likes of James Joyce, Pablo Picasso, and Ezra Pound – was the definitive period when his writing skills were honed and polished. However, there were two other factors always exerting their strong influence: Hemingway’s youth in Illinois and Michigan under the guidance of a father who made young Ernest a keen observer of nature and his first newspaper job with the Kansas City Star. Their style guide included such instructions as: “Use short sentences. Use short first paragraphs. Use vigorous English. Be Positive. Never use old slang and eliminate every superfluous word.” Those were the best rules he ever learned for the business of writing, and he never forgot them.
Q. If you could go back in time to meet Hemingway, what would you say to him?
Sinclair: If I could meet with Ernest, I would share with him some of the modern understandings of alcohol, of depression, of concussions, and of the side effects of various medications. I might even suggest avoiding a barbaric technique called electro-convulsive therapy (ECT). After this serious discussion, I would simply ask to sit quietly with him on the deck of his boat, Pilar, calmed by a gentle breeze floating over a peaceful view of a beautiful Gulf Stream. I would thank him for being the mirror through which I could view my own life. We would share cool drinks, sigh a few sighs and finally I would look at him and say, with the utmost affection, “Well done, old friend, well done!”
Q. Hemingway once stated that “Writing at it’s best is a lonely life.” How do you as a performer strike the balance that is Hemingway’s machismo in his perceived public persona and his internal struggles with mental illness?
Sinclair: To present a balanced Hemingway was surprisingly simple.
Sinclair with Hemingway’s Nobel Prize
All I had to do was to tell the story of Ernest Hemingway but I had to tell the whole story and I had to tell both sides of that story and it was a huge story. Hemingway knew that you had to live with your demons and your angels. You had to alternate the braggadocio with the compassion. It makes Ernest more human and more enjoyable, to play and to watch. Eventually, when Ernest went through ECT and succumbed to dementia, the world broke him. For these moments, I had to tap into the deepest, most painful memories in my own psyche. Eventually, the character of Ernest Hemingway and I were able to blend into a successful theatrical presence. Hemingway had become my hero and I was bound to respect him in performance. As Ernest himself said, “As you get older, it is harder to have heroes but it is sort of necessary.”
Q. What is the main thing that you have gained from your work on Hemingway?
Sinclair: Hemingway opened a doorway that allowed me to discover the vibrant love of literature and people of Cuba. His spirit is still there and nowhere is it stronger than at his home, Finca La Vigia (Lookout Farm). Now that Hemingway has moved into legend, I have the pleasure of sharing that legend. The modern reincarnation of the children’s baseball team that Ernest started in the 1940s has honored me by choosing me as its Patron. Treated as Hemingway II, on the first Saturday of every December, I recreate an authentic holiday celebration at the Hemingway estate for the members of the team. It is my great pleasure to invite everyone to what is, for this special day, my home. Come and meet the warm, friendly, generous people of Cuba.
One of my favorite childhood activities was reading the Sunday comics. I spent hours reading and rereading the strips, imagining that the characters were real, and wondering how their stories would end. This love of comic strips naturally developed into a love for comic books by the time I reached high school. Between studying for chemistry and writing history papers, I indulged in reading about Superman (though I challenged this idea of an alien being the most humane person on earth) and Batman (though I could not get over the fact that he was actually just a rich man with a bunch of cool toys). I often grew frustrated as I searched and hoped for a comic book character who looked like me. My hope finally became a reality when I received a copy of Brotherman, the story of a black superhero written and drawn by Guy A. Sims and his brother, Dawud Anyabwile. I have followed their work since and was delighted to see this creative team delve into the world of graphic novels as they adapted Walter Dean Meyers’ National Book Award-nominated young adult novel Monster.
When I read comics, I think of many questions I wish I could ask the artists – how do they decide what to illustrate, how do they develop the characters? In this month’s interview, I got the opportunity to learn the answers to some of my questions. I sat down with Dr. Guy A. Sims, my former college advisor, and discussed his work as a writer, a comics artist, and a graphic novelist.
*An extended version of this interview and discussion may be found on my personal blog.
Kaye Whitehead: Why did you decide to be involved in adapting Monster into a graphic novel?
Guys Sims: When the project was brought to my attention, I wasn’t sure of how to approach it. I knew there were some fundamental differences between writing a comic book and a graphic novel, so it required a little story structural research on my part. I read a couple of popular graphic novels and thought about how I would present the material. Secondly, I was not familiar with the book Monster. I read the book about four or five times, seeking to understand the story, the characters, but most importantly, what Walter Dean Myers was trying to convey. [Once I became more comfortable with the task], I was excited to get started, even though I was still very nervous. After submitting my first couple of pages to Mr. Myers and the representatives at HarperCollins and receiving very positive responses, I knew I had what it took to do this.
KW: Which writers inspire you?
GS: My all-time favorite writer, the one who inspired me to want to attempt to be a writer, is Richard Wright. My father introduced him to me when I was in sixth grade. I started with Black Boy, moved to The Long Dream, and then Native Son. After that, I was introduced to many African American authors whose styles and themes continued to intrigue me. People like Baldwin, Hansberry, Cullen, McKay, and others. Like many young writers, I tried to emulate their styles until I felt comfortable with my way of storytelling. Today, I am still influenced by writers. Contemporary writers who I look to for inspiration are people like Bebe Moore Campbell, E. Lynn Harris, and Octavia Butler.
KW: What does being a writer mean to you?
GS: Being a writer means the ability to shape culture. This is not an egoistic statement but to be able to take a statement, position, theme, or concept and deliver it in a format that’s intellectually digestible is pretty powerful. In fact, my father told me always to believe in what I wrote because people who read your writing will believe you. Being a writer is also liberating. It is an outlet for feelings. Whether I’m down or happy, confused, or angry, whatever, I can find a way to express it…and in that process, analyze what is going on inside. Then, if I share it with someone, they may find the same internal resolution needed.
KW: You refer to yourself as a scholar/writer – what does that mean to you?
GS: Being a scholar writer means my writing, the poems, prose, fiction, etc., is informed by my academic research. My writing focuses on intimate relations between groups of people. I read a lot of non-fiction and academic books on social interaction, conflict theory, and history, and group dynamics. They form the foundation for how I approach stories.
KW: Why did you decide to write comic books? And what can we expect next?
GS: The comic books began as a marketing tool for my brother’s airbrush business and then it turned into the opportunity to step into the comic book world. While I had never written a comic book before that time, I knew it was something I could learn to do…and I did.
I have a number of projects on the horizon. I have the fifth installment of the Duke Denim detective series to complete this summer, my brother and I are working on the second edition of the Brotherman Graphic Novel, Revelation, and I am laying out the foundation for my next novel, which looks at the Virginia Tech shootings. There are also a couple of others that are in the works…I stay busy.
“Monster” by Walter Dean Myers, adapted as a graphic novel by Guy Sims.
“Revelation,” an installment in the graphic novel series “Brotherman,” written by Guy Sims.
The graphic novel series “Brotherman,” written by Guy Sims.
“Living Just a Little,” written by Guy Sims.
KW: Fifty years from now, how would you like your work to be taught or discussed?
GS: I understand that my works, in the future, will not belong to me. My intentions and perspectives will fall away to be interpreted by the new readers…and that’s okay. I did that to William Shakespeare. I read his works and applied them to my life and understandings. That will happen to those who read my works. In fact, it happens now. I have had people write to me or contact me and tell me what they thought my writings were about and what meanings they held. Of course, it may not have been my intentions, but I’m happy to know they connected with it in their own way. That’s what writing and art are all about.
KW:What writing advice do you have for other aspiring authors?
GS: I have several pieces of advice. 1. Be your first cheerleader. That is, celebrate when you complete a project, write a passage, develop a concept. 2. A bad idea is an idea whose time may not be right or needs a tweak or just needs a whole makeover. Save them; it may not be right for you at the moment, but you never know…one day. 3. When it is ready for the world, give it to the world. Sometimes writers ask for lots of opinions and that’s what you’ll get…diverse opinions. When that happens, many writers never finish. Complete your work and then let it go. Someone’s gonna love it, and someone’s gonna hate it. 4. Read writers outside of your genre, listen to music you are not familiar with, go to art shows you don’t understand, and go to places unfamiliar. All of this and more will feed your creativity. 5. Most of all, write whenever you can. Think of all the time spent in front of the TV that could have been used for your creativity. 6. Last, carry a small notepad and pencil with you for when you’re hit with an inspirational thunderbolt.
KW: Is there anything else you would like to add?
GS: I want to encourage people to know that we all have a story to tell. I often hear people say they can’t make up stories (or poems or whatever). Truth is, we tell stories every day when relating our experiences. We tell stories when our significant others or children make us mad, when we find money in the street, when we fall in or out of love. Stories are in us…just don’t be afraid to set them free.
About the Writer: Guy A. Sims, Ed.D., is the Assistant to the President for Equity, Diversity, and Inclusion and the Title IX Coordinator at Bluefield State College. He is the principal writer for the Brotherman series and the author of The Cold Hard Cases of Duke Denim and the critically acclaimed novel, Living Just A Little. Guy has recently written the adaptation for MONSTER: The Graphic Novel by Walter Dean Myers, published by HarperCollins Publishers. Guy also writes a blog, I is the Future.
About the Interviewer: Karsonya “Kaye” Wise Whitehead, Ph.D. is Associate Professor, Department of Communication at Loyola University Maryland and the Founding Executive Director at The Emilie Frances Davis Center for Education, Research, and Culture. Her new anthology, RaceBrave, was published in March 2016.
Our Chautauqua event is less than a month away, and in preparation for the free performances, we spoke with the scholar-performers headlining the events. The performances run from July 5th to July 16th. This week’s interview is with Dorothy Mains Prince, performing scholar of Gwendolyn Brooks.
Q. What drew you to Gwendolyn Brooks?
Prince: I don’t know what specifically drew me to Gwendolyn. However, I know what has kept me coming back and exploring her works for many years. It is her creative ability to paint real portraits of people. From her first book of poetry in 1945 to her last published collection in 2001, Brooks was “proud to feature people and their concerns- their troubles as well as their joys.”
Q. What is your favorite work by Brooks and why?
Prince: I don’t have a favorite work. I enjoy too many to cite one particular poem.
Q. Poetry has been described as “bread for the journey.” What journey do you think Brooks is traveling on with poetry? What does she want her readers to go on?
Prince: Gwendolyn Brooks described herself as a “People” poet. She was an intense observer and lover of people. She desired to write about Black people not as “curios” but simply as people. She wanted her readers to truly see and understand her characters as real people. And in turn, come to a greater understanding of “self.”
Q. If you could go back in time and meet Brooks, what would you say to her?
Prince: I had the great privilege of meeting Gwendolyn Brooks in 1991. And I said very little to her. It was a time to listen and appreciate the talent and knowledge of this exceptional writer and humanitarian.
Q. In our 2001 Chautauqua, you portrayed poet Phillis Wheatley. Do you see any similarities between Wheatley and Brooks?
Prince: There are several interesting similarities between Phillis Wheatley (1761?- 1784) and Gwendolyn Brooks (1917-2000). Both were recognized early as not being ordinary. They began writing around the age of seven. They were encouraged and supported in their desire to write by the women in their lives; Phillis by her slave mistress, Susanna Wheatley and Brooks by her mother, Keziah Wims Brooks. They both had to fight to have their works published in a world that refused at first to recognize them as having the capacity to write with such extraordinary proficiency. They both defied the odds and continued to do what they were born to do. Phillis Wheatley was America’s first African-American woman of letters to have a book of poetry published in 1773, and Gwendolyn Brooks, the first Black to win the Pulitzer Prize in 1950.
Q. In addition to Langston Hughes, Brooks’ work was influenced by fellow poet Amiri Baraka and others who were a part of the Black Nationalist Movement. Do you see a place for poetry and similar forms of expression within the #BlackLIvesMatters Movement?
Prince: Yes, I do. Just as Brooks in the 1960’s recognized the power of poetry and the need for human expression, her poetry today speaks to the hearts and minds of 21st century civil rights activists.
“This is the urgency: Live! And have your blooming in the noise of the whirlwind.”
Nearly one hundred years have passed since 18-year-old Ernest Hemingway’s rescue ambulance was struck by a mortar shell in Schio, Italy during World War I. He had been eager to serve but failed to make the US Army’s cut due to vision problems, ultimately finding his place in the war effort as an ambulance driver in the American Red Cross. Hemingway redeemed himself with sheer tenacity, a characteristic which became so engrained that it ultimately defined him.
Though badly injured and knocked unconscious by the mortar explosion, Hemingway continued to drive his ambulance. Careening through Schio, he focused on finding injured soldiers—his Italian compatriots. Ted Brumback, another American ambulance driver, wrote Hemingway’s father to say that “despite over two-hundred pieces of shrapnel being lodged in [Hemingway’s] legs, he still managed to carry another wounded soldier back to the first aid station; along the way he was hit in the legs by several machine gun bullets.” Whether or not he carried another wounded soldier was never confirmed, but this much is for certain—Hemingway refused to sit idly once injured, was struck again by enemy fire, and taken to recover in Milan. He was later awarded the Silver Medal of Valor from the Italian government.
Clearly Hemingway had a sensational war story. But is that the reason his works persist as examples of war literature? Maybe not. Perhaps their success continues because Hemingway embodied his experience and consistently incorporated it into his work. Hemingway never stopped writing about his wartime experience. His time as an ambulance driver and his involvement in the Spanish Civil War (during which he narrowly escaped death when three shells exploded in his hotel room) never seemed to leave his consciousness. From “Big Two-Hearted River” (1925) to The Snows of Kilimanjaro (1936), Hemingway’s works continue to be reading-list staples in college classrooms, book clubs, and Veterans Book Groups, a program of Maryland Humanities. His novel A Farewell to Arms (1927), which owes much of its story arc to Hemingway’s affair with a nurse at the hospital in Milan, and For Whom the Bell Tolls (1940), the tale of an American journalist’s commitment to revolution, are perennial examples of World War I and the Spanish Civil War literature, respectively.
Hemingway’s trademark minimalist style exemplifies the matter-of-fact nature of war, from the battlefield to the homefront. But he was hardly the only critically-acclaimed veteran-turned-author. John Dos Passos, also an ambulance driver in World War I and a revolutionary in the Spanish Civil War, wrote the brilliant novel Three Soldiers (1921), which changed the way American citizens thought about World War I. The poems of E. E. Cummings, yet another World War I ambulance driver, often wrestled with concepts of struggle, conflict, and doom. The experience of war solidified what Cummings wanted to immortalize in his poetry: the power of humanity.
But, more than half a century after his death, Hemingway continues to be the author who acts as a literary lifeline to the war experience. Perhaps part of this status is due to his tenacity. The commitment that drove Hemingway to return to his ambulance is the same stubborn idealism that drove him to eschew his American identity as part of the “Lost Generation,” to join Spain’s Republican resistance, and to marry four very different women. This same endurance and stoicism propelled Hemingway beyond fame into a cultural legend. Ultimately, it brought its own struggles and, arguably, his demise. But the duality of Hemingway’s tenacity is what makes him irresistible as a writer and a character. Unexpectedly, it also makes Hemingway and his characters relatable. Like his life, Hemingway’s stories vacillate between obstinacy and tenderness, between rapture and pain. His characters grapple with love and death, and the will to continue on. In Hemingway’s stories, we can experience war. But, more importantly, we relate to the veteran because his story is a human one. We discover a beautiful struggle to survive—and find the tenacity to tell the story.
Hear from Ernest Hemingway, portrayed by actor and playwright Brian Gordon Sinclair, during the 2016 Chautauqua program, July 5–14. Get the full schedule of performances and more on our Chautauqua page.
Bibliography
“Biography.” Hemingway Resource Center. 2015. Accessed June 14, 2016. http://www.lostgeneration.com/.
“Hemingway’s Italy.” Ernest Hemingway Collection. 2014. Accessed June 14, 2016. www.ernesthemingwaycollection.com/
Putnam, Thomas. “Hemingway on War and Its Aftermath.” National Archives. Spring 2006. Accessed June 14, 2016. http://www.archives.gov/publications/prologue/2006/spring/hemingway.html
Ruediger, Steve. “Prose & Poetry – Literary Ambulance Drivers.” First World War.com. August 22, 2009. Accessed June 14, 2016. http://www.firstworldwar.com/poetsandprose/ambulance.htm.
The New York Times Staff. “Hemingway Dead of Shotgun Wound; Wife Says He Was Cleaning Weapon.” The New York Times. July 3, 1961. Accessed June 14, 2016. https://www.nytimes.com/books/99/07/04/specials/hemingway-obit.html
Our Chautauqua event is less than a month away, and in preparation for the free performances, we spoke with the scholar-performers headlining the events. The performances run from July 5th to July 16th. This week’s interview is with Tevin Brown, performing scholar of Duke Ellington.
Q. What drew you to music as your profession?
Brown: I actually started out in musical theatre at the Arena Players when I was 10 years old. My elementary school went to see a play there, and once I saw the actors I knew that was what I wanted to do. A few years later, after being in their Youtheatre program, it became clear that music was my strongest talent. From there I got accepted into the Baltimore School for the Arts for music, and I knew that music was what I wanted to do. I knew it because I couldn’t imagine life without singing or playing or being a part of a choir or being on stage.
Q. Which musician(s) inspire you the most?
Brown: Because I sing and play piano, I am drawn to artists who do the same. My biggest inspirations are John Legend, Stevie Wonder and Donny Hathaway.
Q. What is your favorite Duke Ellington song and why? How does it speak to you personally?
Brown: This is such a hard question! If I was forced to choose, I would go with “Sophisticated Lady”. The chords are very lush with a melody that bends back and forth like a lady. The imagery that Duke used is perfect in this tune, and the lyrics tell the story of a beautiful woman who has lost her lover and is hurting. She doesn’t show it on the outside, but “when nobody is nigh, you cry”. It is a love story that all of us can no doubt relate to.
Q. How would you describe jazz music and what makes it different from other types of music?
Brown: Jazz music is America’s original music. Unlike just about every other genre, jazz was birthed and developed here in America and it holds a special place in my heart for that. One of the biggest differences between jazz and other genres is the inherent freedom that musicians have when playing jazz. A jazz musician is allowed to play the same tune 5 different times and have them all sound different. That is what makes jazz special; because of the free nature of the music, emphasis is placed on the artist and their style more than the composer/songwriter.
Q. Music can be viewed as a type of storytelling. If so, what story do you think Duke Ellington was trying to convey with his music?
Brown: I think Duke was telling a unique story of Blackness as it was perceived by him. Ellington was an innovator who broke the mold of what the Black musician/composer could do. Starting out as a “swingtime” bandleader, his early work gained its own nickname of “jungle music” because of the wild and unorthodox sounds his band would create. From there, he stepped into writing in more classical forms (suites, symphonies, etc.) and redefined the way a jazz composer is viewed. All of this was done alongside telling stories of love (In A Sentimental Mood), pain (Don’t Get Around Much Anymore), and cultural pride (Black and Tan Fantasy). Duke’s story was very unique indeed.
Q. What surprised you the most in your research on Duke Ellington?
Brown: What surprised me was how much help Duke Ellington received from his peers and friends along the way to stardom. In his autobiography, Duke mentioned on multiple occasions that whenever he was faced with hardship or a crossroads in life, there was someone there to show him the way to go. This surprised me because I assumed that Duke Ellington was more of a lone wolf, as most composers tend to be. On the contrary, he was a people person and was rarely alone.
Q. Do you see or hear Ellington’s influence on contemporary music?
Brown: Unfortunately, I am hearing less and less of his influence in the music of today. Most of this is due to the new technology that is being used to make music. For example, Duke never used an electronic keyboard in any of his music and there was no such thing as a laptop. Today, all you need is GarageBand and a microphone and you can create as much music as you would like. I think Duke was living and writing music in a different world, and that is why we don’t hear much of his influence in music.
Q. If you could go back in time to meet Ellington, what would you say to him?
Brown: I would thank him for all that he has done for music. I believe that without the music of a Duke Ellington, the progression of music would be at least twice as slow. I cannot imagine what limitations we as musicians would still have if it weren’t for Duke breaking sound barriers in the way that he did. I would also ask him to give me a piano lesson. There would be so much to learn from a jazz giant like Duke!